A last full day full of resolution. I crossed the city by tramway, entered its many parks, visited the POLIN Museum of the History of Polish Jews and later in the afternoon met the Oslo team again.
4:00pm we are all waiting for our guide for a scheduled tour of the city. Then he arrives with its old cool mini yellow van. No need to worried about safety belts as there are not safety belts. We just need to relax and grab the red and black fur on the seats to not fall at every turns or bumps on the road.
The path followed by the mini van brought us to many places I have seen the last two days, but the tour guide was entertaining. To conclude our exploration we crossed the river and had a snack in what we can call a witness apartment of old Polish communist time. The vodka was good.
8:08pm despite the aperitif we start looking for a place to have diner and we end up in a kind of semi classic restaurant called Folk Gospoda. To give an image it's all in wood, a bit German style, waiters and waitresses are wearing "traditional" costumes. In comparison to the German version, the waitresses are wearing white socks, semi short skirts revealing her knees but without "décolotté pigeonnant" Bavarian style.
About the food is was way too big, good but way too big, but the beer drinkable. And sadly I could not see the couple making out in the other restaurant room in my back, but at some point two of my friends said "I think the woman on the back is giving an hand job to the guy next to him, noooo" we all said turning synchronously our heads. That was fun.
11.34pm the day isn't over and I left my Norwegian crew at its hotel and continue my city exploration. I have not idea where I'm, but I'm. I met again the Polish and French pair of yesterday with more Polish people. A very nice end of my short trip in Warsaw. I never thought this trip will have ended up with a long and passionate discussion about color imaging and ACES, but life is full a surprises.
I will have to go to bed at some point, my Polskybus is leaving the city in a few hours.
Affichage des articles dont le libellé est ACES. Afficher tous les articles
Affichage des articles dont le libellé est ACES. Afficher tous les articles
30/03/2015
22/10/2013
Back to IBC 2013 - Movie Making Colour Management, Best Practice and more
The last two days of the IBC 2013 conference have seen two interesting sessions on movie post-production, pipeline, standards and more important than everything else: color (or colour (ou couleur (oder Farbe))).
The session "Movie Making Colour Management, best Practice" was on many aspects my favorite. The panel discussion was covering all the movie pipeline steps: from real acquisition people (camera system with ARRI), to display people (Dolby), to big studio (Walt Disney) and post-production (Fluent Image Ltd). Comparing to a few years ago - when the full digital wave was hitting the cinema world, first scanning then editing, filming and now displaying (?) - it seems that people are getting familiar with the new equipment, digital cameras do not appear as magic devices being able of technological feats only... but cameras with their given properties (how they capture light and color). On that aspect, the ARRI person as well as the Fluent Image person were saying the same (it was two months ago so I may not be completely accurate): try the camera before starting shooting your movie, once on schedule for shooting you do not have the time for experimentation (this is what reasonable post-production companies do, I have seen that in Berlin by ARRI post-production people). In the past you were choosing this or this film-roll (i.e. fuji or something else) and your lab was then processing the film, now you choose a camera and its captor/sensor properties.
What is interesting when a new technology is introduced in an established pipeline is how the cards are redistributed (i.e. power, influence). Before the director of photography (DP and not TP which is a French basketball player) was deciding the light, the film-roll for the next production and in a way fixing the color "limit" of the production and kind of imposing its choice, vision. Now it is a bit different: the color can be modified anywhere along the movie production pipeline (which doesn't mean it should be done that way!). And this give a nice transition regarding the input to the discussion from the Big Studio person who was talking about standard and ACES and simplifying the workflow. Starting from color consideration (extremely important considerations say the color scientist) with ACES, it is more guidelines than absolute recipe that are introduced to the pipeline.
Of course the importance of display calibration was mentioning. All and all pretty standard comments but reasonable comments on what people should do or not do: be prepared in advance, know your tools. Danger of processing the dailies too much for the important people, it means you need a grading team on set and you take the risk to fix the color "mood" of the film to early.
I also do remember, or I think I remember that this panel of professional said they need color scientists, good for me, or I dreamed it? In any cases they need color scientists.
During the last day and maybe the last session it was about compression (for the Hobbit movie), especially jpg2000, and color artifacts that can occur. The problem of archiving was tackled by people from the EYE center in Amsterdam: what do you do when you have to scan old film material with very different fps.
And more political, how the standards are pushed from each side of the Atlantic and which company, studio, government, open-source project and so are the main players in these battle/discussion.
The session "Movie Making Colour Management, best Practice" was on many aspects my favorite. The panel discussion was covering all the movie pipeline steps: from real acquisition people (camera system with ARRI), to display people (Dolby), to big studio (Walt Disney) and post-production (Fluent Image Ltd). Comparing to a few years ago - when the full digital wave was hitting the cinema world, first scanning then editing, filming and now displaying (?) - it seems that people are getting familiar with the new equipment, digital cameras do not appear as magic devices being able of technological feats only... but cameras with their given properties (how they capture light and color). On that aspect, the ARRI person as well as the Fluent Image person were saying the same (it was two months ago so I may not be completely accurate): try the camera before starting shooting your movie, once on schedule for shooting you do not have the time for experimentation (this is what reasonable post-production companies do, I have seen that in Berlin by ARRI post-production people). In the past you were choosing this or this film-roll (i.e. fuji or something else) and your lab was then processing the film, now you choose a camera and its captor/sensor properties.
What is interesting when a new technology is introduced in an established pipeline is how the cards are redistributed (i.e. power, influence). Before the director of photography (DP and not TP which is a French basketball player) was deciding the light, the film-roll for the next production and in a way fixing the color "limit" of the production and kind of imposing its choice, vision. Now it is a bit different: the color can be modified anywhere along the movie production pipeline (which doesn't mean it should be done that way!). And this give a nice transition regarding the input to the discussion from the Big Studio person who was talking about standard and ACES and simplifying the workflow. Starting from color consideration (extremely important considerations say the color scientist) with ACES, it is more guidelines than absolute recipe that are introduced to the pipeline.
Of course the importance of display calibration was mentioning. All and all pretty standard comments but reasonable comments on what people should do or not do: be prepared in advance, know your tools. Danger of processing the dailies too much for the important people, it means you need a grading team on set and you take the risk to fix the color "mood" of the film to early.
I also do remember, or I think I remember that this panel of professional said they need color scientists, good for me, or I dreamed it? In any cases they need color scientists.
During the last day and maybe the last session it was about compression (for the Hobbit movie), especially jpg2000, and color artifacts that can occur. The problem of archiving was tackled by people from the EYE center in Amsterdam: what do you do when you have to scan old film material with very different fps.
And more political, how the standards are pushed from each side of the Atlantic and which company, studio, government, open-source project and so are the main players in these battle/discussion.
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